A close-knit family is disrupted when the father fails to resurface during a professional dive. No funeral, no goodbye, just a house full of memories. Burdened by the elusive loss, Merel evades her husband's death and everything related to it. Her young children become entangled in their search for answers, eventually bringing the family to a hard stand. Merel has no choice but to face the loss in her own unique way, to start a new life together.
A woman vanishes. Two men take to the road in search of her: they both love her. Why did she leave? Each one of them has his own suspicions, and hides them from the other one who—mysteriously—never truly becomes his rival. Neither is right—but is anyone? This sudden runaway becomes the hidden core of a number of fictions that the film delicately weaves together: the secret of the heart of another woman, lost as well, many years ago; the secret of the life of a village in the countryside, governed by a supernatural incident that nobody seems to perceive; the secret of the plains, which never ceases to spread and devour everything, like the shadows that invade the world after the twilight hour.
这个故事讲述了一个名叫普兰(Jourdy Pranata)的年轻人。普兰的父亲在他读初中时去世,母亲忙于工作,普兰经常自己一个人在音乐咖啡馆里弹奏音乐和谱曲。直到他遇见了妮斯卡拉(Prilly Latuconsina),两人成为了好朋友。但普兰并不知道妮斯卡拉有双相情感障碍。妮斯卡拉为了向父亲证明自己能够在大学里取得好成绩,并掩藏了她的病情。自从和普兰成为朋友后,妮斯卡拉打破了自己的许多规则和承诺。普兰觉得妮斯卡拉可以填补他孤独的生活,并在音乐上支持他。普兰和妮斯卡拉的二重唱受到了极高的赞赏。最后普兰发现了妮斯卡拉的双相情感障碍,但他更加爱她了。当妮斯卡拉的父亲追踪到她在咖啡馆唱歌时,他和普兰之间发生了一些风波。@优质资源库
Star, a suicidal teen now too old for foster care, develops a candid rapport with An, a student from Shanghai who is assigned to watch her while she is in hospital. A nightly exchange of secrets, text messages and possessions quickly expands the boundaries of their relationship, altering their inner chemistry. Gilded by a soundscape that interweaves work by emerging and pioneering electronic musicians, Queens of the Qing Dynasty is an offbeat ode to neurodiversity and genderqueer individuals who refuse to conform. Director Ashley McKenzie’s blend of formalism and gritty realism does not fail to surprise and treats the audience to flashes of visual and conceptual poetry. Her cast is entirely composed of first-time actors who convincingly convey how unique every individual is, both in how they see the world and how they relate to others. Ziyin Zheng in the role of An graciously embodies a mix of idiosyncrasy and frankness that makes them an ideal confidante for Star (Sarah Walker). They have what it takes to be on the receiving end of the scrutinising gaze of Star, who sees through conventions and never ceases to be amazed at life’s bewildering events. Veering on slapstick, Walker’s performance will not go unnoticed.
People who are all by themselves. How empty and precarious are the lives of those who are hoovering without knowing each other behind the name of daily life? Director JUNG Bum-shik’s new feature film New Normal, released four years later GONJIAM: Haunted Asylum which is notoriously known as opening the new chapter of Korean horror films, tells an eerie and lonely story of those who carry their own loneliness and exhaustion in this lonesome era that 'Hon-Bab'(eating alone) became as natural.
When the film begins, it is all over. “We know it’s terminal, and that’s all”, says Juliane of her mother Kerstin, who is in great pain and about to die aged just 64. Although the young doctor she consults acknowledges on a personal level that everyone has the right to manage their own death, he nonetheless reminds her that euthanasia is still illegal in Germany. This is even more the case at the Catholic hospice where Kerstin is staying. As relatives come to say goodbye to her mother and the emotions of memories mingle with the anticipation of grief, Juliane finds herself having to do battle with time – unbending, apathetic and monochrome – and this is superbly reflected in the convulsions of the handheld camera in wide shots. Based on personal experience, Jessica Krummacher’s second feature film vividly relates the painful story of losing a parent. There is no violence or morbidity, rather the director describes the most important of events via the smallest, most fragile of details – the exchanging of words, texts and tender gestures that remain with us and get under our skin.